#1
I've run into a bit of a problem with my jazz playing... I'm doing a tune called Crises, and part of the A section goes:

Cmaj7 Dmaj7 Dbmaj7 C Bmaj7 Bbmaj7

And... my playing sound very dull over it.

I'm hitting chord tones, but I find myself drawn into the trap of just sequencing ideas down a half step for every chord. I try to develop the ideas, use both the 11 and #11, and work my way up instead of down, but I'm still not satisfied. Even when I do get a decent idea, I still have two more repeats of the A section in one chorus, and the quality isn't even.

I'm working to solve this already, but I figure I could ask some experienced jazz-types here for some general approaches they might take to this situation. Any substitutions or "outside" playing that might work, or sequencing that doesn't sound amateurish. Also, any particularly good examples of jazz greats soloing over stuff like this could only help.

So, thanks for any replies or help.
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#3
well sadly i feel pretty useless in this thread... hope someone who knows more than me can help ya!
#4
Just from the top of my head, I'll dig more deep in soon.

Maj7 chords can be both the I and IV chord. Play with 11 and #11 extensions like you do is great with that. Also, the major pentatonic works wonders over the maj7 chord if you approach it with the right mindset. Over Cmaj7: Cmaj penta, Fmaj penta, Gmaj penta (all of those if C is the I) orrr Cmaj penta, Dmaj penta and Gmaj penta (if C is the IV).

So, that gives C, F, G and D maj penta over just Cmaj7 chord. These are the I, II, IV and V maj pentas.

Let's start on the Dmaj7 chord. We can play D, G, A and E pentas over it. Let's just keep it safe and play something in Dmaj penta over it. Next chord is Dbmaj7! Dbmajpenta, Ebmajpenta, Gbmajpenta, Abmajpenta are all choices to play over it! You could slide all a half step down, like you keep doing with your stuff.. Or slide half a fret up to Eb maj penta!

Next chord is C.. You could go back to D here, or whatever. Use your imagination.

If I don't respond by tomorrow evening, PM me to respond to this thread again, gotta go to school.

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#5
Quote by psychodelia
I've run into a bit of a problem with my jazz playing... I'm doing a tune called Crises, and part of the A section goes:

Cmaj7 Dmaj7 Dbmaj7 C Bmaj7 Bbmaj7

And... my playing sound very dull over it.

So, thanks for any replies or help.


If I was you, I would emphasize on variation between the bass and treble notes of the maj7th note... I don't know exactly the progression you have but if it's a 4 4 full bar of each chord, you can break down each bar into two and play the maj7th note as a bass in the first one and as treble in the other.
#6
yan kong... I am already doing that a bit, but I should probably work on it more.

elven... I am liking the pentatonics idea. For some reason that seems to make the initial switch a bit easier for me, and then I can use the other notes. Definitely going to work on that a bit more.
(Slightly outdated) Electronic and classical compositions by m'self: Check 'em out